Don’t Let the Sun Go Down on Me – Send it to Engelbert Humperdinck. #MusicisLife #TedTocksCovers #EltonJohn #BernieTaupin

Maybe it was the tension?

Fifty years ago, Elton John was at the top of the music world. He was riding a wave of success that put him up in the same stratosphere as The Beatles and Elvis Presley. Beginning in 1972 with ‘Honky Chateau’ and ending with 1975’s ‘Captain Fantastic and the Brown Dirt Cowboy’ Elton John had a string of five consecutive #1 albums. In between, Elton had hits with ‘Don’t Shoot Me I’m Only the Piano Player’, ‘Goodbye Yellow Brick Road’ and the subject of today’s feature ‘Caribou’ which featured ‘Don’t Let the Sun Go Down on Me’ as the first single.

Due to the run of success, expectations were high, however there were nearly insurmountable challenges. Touring demands forced Elton John and his band to shoehorn studio time in during a small window of time that was available in January of 1974.  The band and production team headed to the Caribou Ranch recording studio in Colorado and recorded most of the album that would carry the name of its origin. It was recorded in nine days. According to producer Gus Dudgeon the band was “under enormous pressure” and high in the mountains, things were reaching a boiling point.

By the time everything was done and the banded headed to Budokhan Theatre in Tokyo, Japan to resume the acclaimed ‘Goodbye Yellow Brick Road’ tour, Dudgeon was left with a whole lot of pieces to a puzzle that was thought by some to be a scrambled mess. The material lacked the cohesion of Elton John’s previous projects. The frazzled producer was able to gather the best of the material and blend in some quality backing vocals, add some horns and other studio treatments and present the music world with something that approached the Elton John standard.

It was accepted.

Maybe it was because he was so close to the process, but when it all was over Dudgeon proclaimed that it was;

…a piece of crap … the sound is the worst, the songs are nowhere, the sleeve came out wrong, the lyrics weren’t that good, the singing wasn’t all there, the playing wasn’t great and the production is just plain lousy”.

Of course, it rapidly ascended to #1 upon its release on this day in 1974. Maybe it was not Elton John’s best work, but under the circumstances they got the best they could out of him. Not only is ‘Don’t Let the Sun Go Down on Me’ one of Elton John’s most celebrated songs, but among fans at least, the record offered some interesting deep tracks.

One wonders what would have happened if they had a solid two months to perfect the creative process.

Everything here is hindsight, and what is considered mediocre Elton John is still high end in the grand scheme of the musical timeline.

Once again, the glue that allowed the Elton John train to continue to ramble down the line was lyricist Bernie Taupin.

Bernie is on record as saying he does not specifically recall sitting down to write ‘Don’t Let the Sun Go Down on Me’ but he is very clear on the fact that he would never allow his lyrics to be classified as mundane.

I like to be more interesting than a good old ‘I love you, you love me, my heart will break if you leave me. Throw in a curveball. ‘Don’t Let the Sun Go Down on Me.’ Put a dark twist on them.”

What if he and Elton John could create yet another musical statement that allowed listeners to recall the Phil Spector ‘Wall of Sound’. This became the goal.

My only recollections of this is that we wanted to write something big. I mean, big in that dramatic Spectory (as in Phil Spector) style, like ‘You’ve Lost That Lovin’ Feelin’. Hopefully being powerful without being pompous.”

With the help of Gus Dudgeon, everything came together in this very way. Years later, Taupin came clean on a few aspects of this song’s creation and his body of work in general. This is really quite funny.

I’m not sure that with this in mind it made me fashion the lyrics any differently. Although, in retrospect, they do seem to have a slightly more Brill Building flair to them, so it’s entirely possible that I did. Of course, I always seem to have to revert to a crib sheet to check these things, as I just seem to have a really bad memory of my own work. In fact, it makes me think of a situation that I found myself in a few years ago watching some TV with some friends of mine. There was a game show on where one of the categories happened to be my lyrics. And there were, I believe, five questions, and four of them I got wrong.”

As always, Bernie Taupin’s lyrics are right there in black and white. Available to us all. Delivered by Elton John as though the world depended on these words in this very moment. For over half a century this combination has helped millions of people take the magnitude of their personal experience and apply meaning to help them get through.

Just one more example of the power of music, even though, in the moment Elton John thought it was crap.  Looking back, that is so hard to believe, but like always, the sun sets and we gather our thoughts and the dawn of a new day brings hope, even if you think you are losing everything.

I can’t light no more of your darkness
All my pictures seem to fade to black and white
I’m growing tired, and time stands still before me
Frozen here on the ladder of my life

Too late to save myself from falling
I took a chance and changed your way of life
But you misread my meaning when I met you
Closed the door and left me blinded by the light

Don’t let the sun go down on me
Although I search myself, it’s always someone else I see
I’d just allow a fragment of your life to wander free
But losing everything is like the sun going down on me

I can’t find, oh, the right romantic line
But see me once and see the way I feel
Don’t discard me just because you think I mean you harm
But these cuts I have, oh, they need love to help them heal

Don’t let the sun go down on me
(Don’t let the sun)
Although I search myself, it’s always someone else I see
I’d just allow a fragment of your life to wander free
(Don’t let the sun)
But losing everything is like the sun going down on me

Don’t let the sun go down on me
(Don’t let the sun)
Although I search myself, it’s always someone else I see
I’d just allow a fragment of your life to wander free, yeah
(Don’t let the sun)
But losing everything is like the sun going down on me”

As stated earlier, much of what we recognize 50 years later as an Elton John masterpiece, can be attributed to the studio vision of Gus Dudgeon. After Elton John and his entourage headed off to Japan, he began to put the pieces together in what Bernie Taupin referred to as the ‘Spectory’ way. This included inviting a handful of backup singers to Brother Studios in Santa Monica to add their talents to the chorus. The list included, Dusty Springfield and members of America and Three Dog Night. This first collective didn’t fit with the recording but it gave Dudgeon a better idea of what the song did need. Here, he invited Del Newman to create a horn arrangement featuring Tower of Power. This creative touch added to the overall presentation. With the music complete, Dudgeon took another crack at the backing vocals. This time he brought in Carl Wilson and Bruce Johnston of the Beach Boys and Daryl Dragon and Toni Tennille of Captain and Tennille fame.

Music fans may recall that the Bruce Johnston/Toni Tennille combination appeared on another famous recording a half decade later. Let’s take a look behind ‘The Wall’ by Pink Floyd. They contributed backing vocals to the album’s ominous opening track and three songs to side four of this epic album.

Here is ‘In the Flesh Part 1’

This is ‘The Show Must Go On’ which depicts ‘Pink’ in a drug induced dream state.

As Pink perceives himself as a neo-Nazi fascist dictator his presence from the podium culminates in the track ‘In the Flesh Part 2’

His dictatorial vision gives way to inciting a riot in suburban London. Here is ‘Waiting for the Worms’

This is all an interesting aside which once again demonstrates how important the backing vocals are in delivering the tension behind the lyrics and a song.

Here is Toni Tennille recalling her contribution to the Pink Floyd classic. Note, her very candid admission that she was only vaguely familiar with Pink Floyd’s work. Tennille considers this as her claim to hipness as she recognizes Pink Floyd as more than just a rock group. For her it was another lovely Sunday morning in Los Angeles. Awesome.

Now, check this out. This is the Elton John vocal track and as the chorus hits, the backing vocals wash over you like a tidal wave. This is incredible. This will take you to a different level of appreciation.

Through all of this it is producer Gus Dudgeon who emerges as the MVP. Here is his honest assessment. Every time I read this quote, I chuckle despite myself as I imagine the scene. Elton John was in a state. This is a passage from Philip Norman’s biography, ‘Sir Elton: The Definitive Biography’.

 When Elton recorded this track, he was in a filthy mood. On some takes, he’d scream it, on others he’d mumble it, or he’d just stand there, staring at the control room. Eventually, he flung off his headphones and said, ‘Okay, let’s hear what we got.’ When Gus played it for him, Elton said, ‘That’s a load of crap. You can send it to Engelbert Humperdinck, and if he doesn’t like it, you can give it to Lulu as a demo.'”

Ironically, these words brought to mind the scene that inspired ‘The Bitch is Back’ which of course was the second single from ‘Caribou’.

The Bitch is Back – Let the fever catch you. #MusicisLife #TedTocksCovers #EltonJohn #BernieTaupin #TheRollingStones #DavidBowie #RodStewart #TinaTurner #LitaFord #MileyCyrus

Wouldn’t it be amazing if even in our worst moments the people around us were able to translate our emotions and give them back to us in this kind of creativity?

Wouldn’t the world be a better place if we were all so in tune with each other?

We need love to help us heal, and as I so often state;

Music is Love! Music is Life!

Now, let’s take a look at several versions of ‘Don’t Let the Sun Go Down on Me’ through the years.

To begin, George Michael plays an integral part.

Once again, Live Aid becomes part of the story. Here is Elton John who graciously hands the vocals over to George in an emotionally wrought delivery of this stunning piece of music. George Michael introduces the song as one of his favourite Elton John tracks. Mutual admiration. How great was George Michael? This will answer the question.

For Elton John, the ladder of his life became a little unsteady and in order to prevent himself from falling he entered rehab. Much of 1991 saw him in recovery. At about the same time, George Michael released his album ‘Cover to Cover’ and went on tour. He regularly included the song, and famously, during the final show at Wembley Arena on March 23 1991, he brought out a surprise guest. Needless to say, Wembley erupted.

The live recording of this song was released as a single later that year, and was a number one hit in both the United Kingdom and the United States.

In 1993, Elton John included ‘Don’t Let the Sun Go Down on Me’ as part of his album ‘Duets’. Proceeds from this release went to several children’s charities with a primary focus on education and AIDS.

From here we can enjoy several interesting presentations of ‘Don’t Let the Sun Go Down on Me’. There are some industry legends coming your way.

Let’s begin with Roger Daltrey in 1987 from his album. This is from the soundtrack for ‘The Lost Boys’. This sounds like a continuation of ‘Love Reign O’er Me’. Few are better.

The best. Here is the extraordinary Joe Cocker. This is from his 1991 compilation album, ‘The Best of Joe Cocker’. The sheer emotion he delivers brings it forth like a Shakespearian soliloquy. Once again, the backing vocals turn it into something almost heavenly in its brilliance.

Still in 1991, this is Oleta Adams. Admittedly, I was not familiar with her work but after listening to this I wanted to dig deeper. This is from here album ‘The Very Best of Oleta Adams’ which was produced by Roland Orzabal of Tears for Fears fame. The connection was real because Adams collaborated with Tears for Fears on their 1985 album ‘The Seeds of Love’. This is fantastic. Consider it a must listen.

Three years later in 1994, Gloria Estefan released her album ‘Hold Me Thrill Me Kiss Me’ which included this cover of ‘Don’t Let the Sun Go Down on Me’. Mostly forgettable.

Still in 1994 here is Elton John and Billy Joel working together during their ‘Face to Face’ tour. This is a live version from Veterans Stadium in Philadelphia. Just listen to the delivery. Legendary! It is hard to believe that thirty years has passed since this tour.

Now we jump all the way ahead to 2016 when Elton John shared the stage with Lady Gaga. This was during Elton’s 2016 show on the Sunset Strip. This special event was presented to promote his album ‘Wonderful Crazy Night’. Watch as she enters the stage and before delivering her part, she takes time to give Elton John a kiss. Then they offer a flawless duet that effectively connects three generations of music fans.

Let’s continue with another artist who comes up often in Ted Tocks Covers. In 2018 Miley Cyrus added her talent to the Elton John tribute ‘Revamp’. I just love this. Miley has a value system that s closely aligned with Elton John’s which only adds to the importance of this cover.  

As much as I was lukewarm on the bio pic ‘Rocket Man’, Taron Egerton did a great job portraying Elton John. I don’t like it when the directors play fast and loose with the timelines and present it to the masses as fact. Do it right or don’t do it at all. Having said that, I stand by my sentiment that ‘Rocket Man’ would make a fantastic musical if they addressed the chronology issue.

Remember Elton John’s vitriol related to his assessment of the original take of ‘Don’t Let the Sun Go Down on Me’? Well, here is Engelbert Humperdinck and his cover version from 2020. Undaunted by his 2020 tour being canceled due to COVID-19, Humperdinck hit the studio and recorded a six-song album of covers called ‘Sentiments’. It included ‘Don’t Let the Sun Go Down on Me’ and ironically, also ‘You’ve Lost that Lovin’ Feelin’’ which partially inspired Elton John and Bernie Taupin.

Ted Tocks Covers has featured Marc Martel on a handful of occasions mostly as a result of his quality covers of Queen and Freddie Mercury. Here is his interpretation of ‘Don’t Let the Sun Go Down on Me’. Always top notch.

Yet another important collaboration is Elton John with the incredibly talented Brandi Carlile. So good. She just exudes the spirit of any song she delivers. Side by side with Elton John, it becomes essential. The fact that this is from Dodger Stadium, adds to the importance of this performance.

Continuing with the theme of quality collaborations and connections to greatness here is Dolly Parton with Elton John. Her album ‘Rockstar’ was released to lend credence to her induction into the Rock and Roll Hall of Fame’. This duet represents about a century of musical brilliance.

Earlier this year Elton John and Bernie Taupin were presented with the Gershwin Prize for Popular Song. During the presentation Charlie Puth honoured Elton John and Bernie Taupin with this tribute. He puts a stamp on it with his close.

We love you Elton and Bernie. Thank you”

Amen!

Elton and Bernie respond in kind, rising in unison to give Puth a standing ovation. A very special moment.

The trials and tribulations of Elton John’ career are well documented. Through it all there was a constant presence that served Elton John well in terms of his creative output and as an emotional outlet. That beacon has been his lyricist and respected companion, Bernie Taupin. Here is Elton John reflecting on their unprecedented partnership.

We’ve never ever had an argument professionally or personally, which is extraordinary because most songwriters sometimes split up because they get jealous of each other. And it’s exciting because it’s never changed from the first day we wrote songs. I still write the song when he’s not there and then I go and play it to him. So, the excitement is still the same as it was from day one and that’s kept it fresh and it’s kept it exciting.”

Through the years, Taupin’s words managed to reflect Elton John’s mindset in a way that borders on spooky. For two people to channel each other’s creative expression so consistently is extraordinary. They continue to stand side by side and when the accolades rain down, they look at each other and acknowledge their role in what has been one of music’s most enduring partnerships.

To think, there have been several periods when Elton John thought he was done. One of those times was in the mid ‘80s when he was diagnosed with non-cancerous polyps on his vocal chords. He was deeply concerned that his career was done.

Here is Elton John and his famous recording with the Melbourne Symphony Orchestra. This live performance from Sydney in December of 1986 has long been heralded as a triumph. To add to the endless fascination with Elton John as a performer take note of the fact that this series of Australian shows saw Elton don a costume that had him perform as Mozart for a portion of each show.

Not only has Elton John connected the generations with his music since the late ‘60s, he has transcended the centuries.

On many occasions he stumbled, but through his music, he saved himself from falling and we all benefited.

When the sun sets on Elton John’s career, not only will we remember the music, but we will honour the resilience.

Help Me – A Joni Mitchell throwaway song that went to #1. #MusicisLife #TedTocksCovers

Joni Mitchell released her album ‘Court and Spark’ on this day 50 years ago. Like many of the classic albums from the ‘70s it sounds as fresh today as it did the day it was released.

And that in a nutshell is the essence of Joni Mitchell.

Timeless and elegant. Perfectly crafted and eternally captivating. This is why, to this day artists aim to pay homage to Joni Mitchell through their song writing and performance.

Following the success of her ‘For the Roses’ album, Mitchell took a year off to travel and write. Inspired by the slower pace and the ability to take in everything she saw, Joni Mitchell wrote some of the most personal songs of her career. Much of this creativity was complimented by a new sound that she had wanted to explore. This presented in the form of a jazz style. Her state of mind was evidenced in the arrangements she offered and the free-flowing narrative presented in the compositions.

In ‘Help Me’, Joni tells a story about a guy she has fallen for, and within the context of the revelation she determines the relationship is doomed.

She is living between the space of hoping for the future and living in the past. Ultimately, she concludes, that although she loves her lovin’, that joy cannot be out matched by her love of freedom.

Help me, I think I’m falling in love again
When I get that crazy feeling, I know I’m in trouble again
I’m in trouble ’cause you’re a rambler and a gambler
And a sweet taIking ladies man and you love your lovin’
But not like you love your freedom

Help me, I think I’m falling in love too fast
It’s got me hoping for the future and worrying about the past
‘Cause I’ve seen some hot hot blazes come down to smoke and ash
We love our lovin’ but not like we love our freedom

Didn’t it feel good, we were sitting there talking
Or lying there not talking, didn’t it feel good
You dance with the lady with the hole in her stocking
Didn’t it feel good, didn’t it feel good

Help me, I think I’m falling in love with you
Are you going to let me go there by myself
That’s such a lonely thing to do
Both of us flirting around flirting and flirting, hurting too
We love our lovin’ but not like we love our freedom”

Joni Mitchell

There is some speculation that the free spirit that Joni Mitchell is singing about here is Glenn Frey who was on the verge of Eagles fame, or Jackson Browne whose good looks and reputation as a ladies’ man was legendary.

To add to the fascination, back in the early ‘70s Joni Mitchell was surrounded by a strong support cast who admired her abilities. Included among the names that participated in ‘Court and Spark’ were Robbie Robertson. The guitar work of the Robertson drives the rollicking sound of ‘Raised on Robbery’ which preceded the ‘Court and Spark’ release. Fifty years later this song is still a treat to listen to.

David Crosby and Graham Nash added their vocal talents to ‘Free Man in Paris’ while Crosby stuck around to contribute to ‘Down to You’. Both Crosby and Nash were romantically linked to Joni Mitchell in the late ‘60s and the early part of the new decade.

Here is ‘Free Man in Paris’.

The way I see it he said, you just can’t win it
Everybody’s in it for their own gain, you can’t please ’em all
There’s always somebody calling you down
I do my best and I do good business
There’s a lot of people asking for my time
They’re tryin’ to get ahead
They’re tryin’ to be a good friend of mine”

Joni Mitchell

This comes through like a shared experience for this trio of songwriters. Each were struggling with fame in very different ways.

And, now enjoy ‘Down to You’.

This is very honest.

Everything comes and goes

Marked by lovers and styles of clothes

Things that you held high

And told yourself were true

Lost or changing as the days come down to you

Down to you”

Joni Mitchell

As you listen to ‘Court and Spark’ you get a sense of Joni Mitchell’s mindset at the time. For her legion of fans, the album likely still exists as a personal reflection into that period. No doubt, her lyrics helped a lot of people get through some challenging times.

For a completely different direction, Mitchell brought in Cheech Marin and Tommy Chong. Here is ‘Twisted’ which is a rare example of Joni Mitchell covering someone else’s work.

‘Twisted’ was written by Wardell Gray and Annie Ross in 1952. It was a satirical take on psychoanalysis which was a burgeoning industry in 1950s California and showed no sign of letting up by the early ‘70s. Joni Mitchell was a huge fan Lambert Hendricks and Annie Ross and as stated here, she had been hoping to record this song for a while.

Joni Mitchell has indicated that this recording was a favourite during her high school days back in Saskatchewan.

Because I love that song, I always have loved it. I went through analysis for a while this year and the song is about analysis. I figured that I earned the right to sing it. I tried to put it on the last record ‘For the Roses’ but it was totally inappropriate. It had nothing to do with that time period and some of my friends feel it has nothing to do with this album either. It’s added like an encore.”

Joni Mitchell

Toward the end of ‘Twisted’ you will hear Cheech and Chong’s contribution to the song.

What? No driver on the top? This chick is twisted…Flip city!”

Cheech Marin and Tommy Chong

Here is Tommy Chong’s recollection of their connection to Joni Mitchell, from ‘Cheech and Chong: The Unauthorized Autobiography’.

Cheech rented a house in the Hollywood Hills and became the party guy in town. Without [former girlfriend] Barbie he was a free man. While he dated a bevy of eligible Hollywood ladies, one in particular fed my admiration for the Cheech charm. Joni Mitchell, the genius Canadian songwriter, was entangled with Cheech for a while. Gaye Delorme, the guitarist, was staying with Cheech when Joni was over with David Geffen, who was Joni’s personal manager at the time. Gaye was trying to convince Joni to buy a Canadian-built acoustic guitar, but David Geffen shot the deal down when he said he didn’t especially like the guitar. David knew the music business and Joni respected his opinion, so she passed on the guitar. This did not stop the Canadian from trying. Gaye wrote the music and the riff for a tune soon to be known as “Earache My Eye”… or “Mama Talking to Me.” Gaye came up with the music and the first line, “Mama talking to me,” and I added, “trying to tell me how to live, but I don’t listen to her cause my head is like a sieve… My daddy he disowned me cause I wear my sister’s clothes. He caught me in the basement with a pair of panty hose.”

Tommy Chong

Just for kicks, let’s contrast ‘Help Me’ with ‘Earache My Eye’.

In terms of distinguishing qualities related to ‘Court and Spark’ it is likely that the freedom inspired by the jazz infusion contributed to the spirit of the album. For that, listeners can thank L.A. Express, which included guitarist Larry Carlton, bass player, Max Bennett, pianist, Joe Sample and drummer John Guerin. During the sessions, Mitchell became romantically involved with Guerin.

Moving the focus back to ‘Help Me’, despite Joni Mitchell’s best lobbying for a different single, her handlers at Asylum chose this track as the lead offering following the actual ‘Court and Spark’ release. This turned out to be a good decision because it became the biggest hit of her prolific career, going all the way to #7 on the Billboard Hot 100, and #1 on the Easy Listening chart.

My record companies always had a tendency to take my fastest songs on the album for singles, thinking they’d stand out because they did on the LPs. Meantime, I’d feel that the radio is crying for one of my ballads.”

Joni Mitchell

‘Court and Spark’ was her best-selling album, going to #2 in the U.S. and #1 in Canada. This iconic album was also inducted into the Grammy Hall of Fame exactly 20 years ago.

For Joni Mitchell the accolades keep on coming. In many ways, she chose her own path. Except for very rare occasions, she wrote her own songs, and she insisted on being her own producer, which was exceedingly rare at the time. While reflecting on the contribution Joni Mitchell made to women in music consider the fact that ‘Help Me’ was the first Top 10 hit in the U.S. that was entirely written and produced by a female artist. Remarkably, this combination of roles didn’t happen again until Debbie Gibson with ‘Only in My Dreams’ in 1987.

A staggering fact, that speaks to why Joni Mitchell remains so revered by female artists through the years.

Take a moment and watch this video which captures the spirit of how highly regarded Joni Mitchell is among her peers as she was honoured as a Kennedy Center honouree for contribution to American culture and music.

Check out the reference to ‘Help Me’ in Prince’s 1987 song ‘The Ballad of Dorothy Parker’ which speaks to the resolve of a free thinking, independent woman.

This is from the Prince album ‘Sign ‘o’ the Times’ which also includes ‘When We’re Dancing Close and Slow’; a clear reference to Joni’s song ‘Coyote. My personal favourite. Watch this version of ‘Coyote’ from The Last Waltz which captures Joni Mitchell’s dynamic presentation along with The Band’s ability to fall in with the best.

We saw a farmhouse burning down

In the middle of nowhere

In the middle of the night

And we rolled right past that tragedy

Till we turned into some road house lights

Where a local band was playing

Locals were up kicking and shaking on the floor

And the next thing I know

That Coyote’s at my door

He pins me in a corner and he won’t take “No!”

He drags me out on the dance floor

And we’re dancing close and slow

Now he’s got a woman at home

He’s got another woman down the hall

He seems to want me anyway

Why’d you have to get so drunk

And lead me on that way

You just picked up a hitcher

A prisoner of the white lines of the freeway”

Joni Mitchell

When Joni Michell was in high school an English teacher pointed out her talent for the written word and encouraged her to explore her love of the arts. She had a clear talent for the visual arts, but this astute educator took a moment to let her know that she could paint a virtual portrait with her writing ability. This was a pivotal moment in Joni Mitchell’s life.

Through the resulting stream of creativity, we have all been able to participate to some degree.

Looking back through the years, there has been a wonderful list of quality cover versions of Joni Mitchell’s work, and ‘Help Me’ is just one of countless Mitchell tracks that have been interpreted by a strong cast of performers.

Here is Mandy Moore from her 2003 album, ‘Coverage’. Ted Tocks Covers has featured Moore in posts about Elton John’s ‘Mona Lisas and Madhatters’ and ‘XTC’s ‘Senses Working Overtime’ from that same album. This is nice. Two thumbs up from Ted Tocks.

Another Ted Tocks Covers favourite is K.D. Lang who is very open about how much she has looked up to Joni Mitchell throughout her career. This is from her album of cover songs which speak to her formative days as a singer. It is called ‘Recollection’. For more on K.D. Lang check out ‘River’, ‘Hallelujah’, ‘Helpless’ and ‘Crying’.

The list of top-notch versions offered by incredibly gifted artists continues with this porch presentation by Molly Tuttle (‘To Lay Me Down’, ‘Standing on the Moon’ and ‘Bella Donna’/’Stop Draggin’ My Heart Around’) and Lindsay Lou. This sent me on yet another quest to hear more from both of these performers. This is from what the pair refer to as the Nashville Nabe Session #5 in 2017.

Remember Chaka Khan from the ‘80s? Here she is more recently offering her take on ‘Help Me’. This was Khan’s gift to Joni Mitchell during what was Joni Mitchell’s 75^th birthday celebration. Man! This is so soulful. Just beautiful.

Yet another in a long line of women who have expressed their eternal admiration for Joni Mitchell is the gifted Norah Jones (‘Love Me Tender’, ‘Hit the Road Jack’, ‘Jolene’, ‘Everybody Knows’, . Here is her cover which is part of an edited compilation gathered from the Kennedy Center honours shared above. Again, a classy and demonstrative expression of one artist’s devotion to another.

Perhaps the greatest quality that music shares is the ability to act as a time machine. Going back through the years with Joni Mitchell allows us to sit back and reflect on her significance. When we see this appreciation expressed in the many honours bestowed upon her, there is a sense of satisfaction.

When we sit back and listen, there is a soothing reality that somehow, some way, everything is going to be okay.

Hope through music is a positive path. For today at least, that trail is blazed by Joni Mitchell.

Folsom Prison Blues – I hear her words ringin’ through my head as loud as that old train whistle. #MusicisLife #TedTocksCovers

Ted Tocks Covers has an unwritten rule that when a song has cover versions running well into the hundreds the post needs to be less about the story behind the song, and more about the music and artists the song inspired.

So, what you will get is two dozen cover versions of ‘Folsom Prison Blues’ by Johnny Cash.

This is all to honour two decades since the ‘Man in Black’ left us.

Cash wrote ‘Folsom Prison Blues’ in 1951, while he was part of the United States Air Force, stationed in West Germany at a base in Lansdsberg, Bavaria.

Before we share the covers, there is a story to tell. Like the best songs, there is a twist along the track that takes us by Folsom Prison.

When Johnny Cash wrote ‘Folsom Prison Blues’ he borrowed heavily from an existing song by Gordon Jenkins called ‘Crescent City Blues’.

Take a listen, and enjoy the vocals by Beverly Mahr. This tells a much different story.

I hear the train a-comin, it’s rolling ’round the bend
And I ain’t been kissed lord since I don’t know when
The boys in Crescent City don’t seem to know I’m here
That lonesome whistle seems to tell me, Sue, disappear

When I was just a baby my mama told me, Sue
When you’re grown up I want that you should go and see and do
But I’m stuck in Crescent City just watching life mosey by
When I hear that whistle blowin’, I hang my head and cry

I see the rich folks eatin’ in that fancy dining car
They’re probably having pheasant breast and eastern caviar
Now I ain’t crying envy and I ain’t crying me
It’s just that they get to see things that I’ve never seen

If I owned that lonesome whistle, if that railroad train was mine
I bet I’d find a man a little farther down the line
Far from Crescent City is where I’d like to stay
And I’d let that lonesome whistle blow my blues away”

Gordon Jenkins

Clearly, the melody and a good portion of the lyrics were lifted from the Jenkins original. In addition to the revised theme, the main exception was the line about shooting a man in Reno (Nevada). In this short quote Johnny Cash speaks to this line.

I sat with my pen in my hand, trying to think up the worst reason a person could have for killing another person, and that’s what came to mind.”

Johnny Cash

When questioned as to why a man who committed a crime in Nevada was serving time in a California State prison, Cash simply stated;

That’s poetic license.”

Johnny Cash

Just throwing this out there but if I was hanging out in the barracks with Johnny and he asked me for my input, I would have gone with Fresno. I wouldn’t even have asked for a writing credit.

But, Reno it is and Reno it will forever be. Sorry Fresno!

When Johnny Cash released ‘Folsom Prison Blues’ in December of 1955, he and his label Sun Records didn’t ask permission, or even credit Gordon Jenkins. In the early ‘70s a lawsuit was filed and the parties arrived on a $75,000 settlement.

Quite the swindle really…

For Johnny Cash, ‘Folsom Prison Blues’ was recorded by Sam Phillips and Sun Records. It was initially released as a single, before being added to his debut album ‘Johnny Cash with His Hot and Blue Guitar’.

Chart success was positive. ‘Folsom Prison Blues’ went to #4 on the country charts. Over a decade later, Cash famously performed the song live before inmates at Folsom State Prison. This live set was released as ‘At Folsom Prison’ in 1968, and the re-release of the title song went to #1 on the country charts and #32 on the Billboard Hot 100.

To add to the accolades Johnny Cash won the 1969 Grammy Award for Best Country Vocalist, Male.

Before we take the train through a series of covers that span eight decades one must acknowledge the players who performed alongside Johnny Cash. On the iconic original recording he was joined by Luther Perkins on guitar and Marshall Grant on bass. There was no drummer. The repeated snare drum sound was ingeniously created by Johnny Cash who placed a piece of paper (perhaps a dollar bill) under the strings of his guitar. He then strummed the snare rhythm.

The only differences in personnel for the Folsom Prison show was W.S. Holland sitting behind the drumkit for a more authentic trainlike rhythm.

Here is the recording live from Folsom Prison.

It should be noted that the enthusiastic cheering at the end of various lines were edited in post-production. Looking back there is a definite cringe factory.

Okay…All aboard the train as we head through the years. There will be some huge names here along with a handful of carefully selected covers by some intriguing acts.

Let’s begin with Thumper Jones in 1956. Soon after he would become known as George.

This next cover literally jumped out at me. Here is ‘Jumpin’ Gene Simmons, not to be confused with the Gene Simmons who led KISS through several years of fame and glory. This is a very spirited cover so I thought I would add this 1965 rendition to the list.

Back to the more familiar names, here is the great Charley Pride from 1966.

In addition to being instrumental in helping Dolly Parton launch her historic career, Porter Wagoner put out some quality material. Here he is doing the Johnny Cash hit in 1967.

The next three songs have some pretty strong connections to the evolution of the music we listen to today.

In 1961, Bob Dylan entered the music scene as a disciple of the folk stylings portrayed by Woody Guthrie. Guthrie painted a portrait of the sad underbelly of Americana, and Dylan was infatuated with his writing. In time, the protégé developed his own style and adapted elements of country and rock and roll. In the mid ‘60s, he plugged in to the amplifiers to bring his word to a wider audience. To help him share his words and music, Dylan employed the services of The Band. Here is Bob Dylan and the Band on the album known as ‘The Basement Tapes’. This was recorded in 1967 at Bob Dylan’s home in upstate New York as well as at The Band’s residence that became affectionately known as ‘The Big Pink’. Whole books could be written about these recording sessions. This is just one of the stories.

Enjoy ‘Folsom Prison Blues’. Over sixty years of recording, and Bob Dylan has rarely sounded more passionate. When Rick Danko and Richard Manuel join in, it becomes biblical. Listen to Garth Hudson on the organ and Robbie Robertson’s guitar outro. My only complaint is it is too short.

What I am saying is The Band brought out the absolute best in Bob Dylan.

During the ‘60s, musicians everywhere were hanging on every word and music note presented by Bob Dylan. One such performer was a then relatively unknown Gram Parsons. Along with his ensemble known as the International Submarine Band, they created this little medley of ‘Folsom Prison Blues’ and ‘That’s All Right’. This is from 1967. A year later Gram Parsons joined the Byrds, who of course were heavily influenced by Bob Dylan. They were instrumental in furthering the blend of folk and rock.

What Gram Parsons really brought to the Byrds was a vision that took the country and bluegrass music genres and threw them into an eclectic mix. For over 55 years this style has captured the imagination of millions of listeners.

Now, to bring it all back around; it could be stated that if it were not for Conway Twitty, this chain of musical events may have never begun. It was Conway Twitty who suggested to his friend Ronnie Hawkins that the run of small towns and large cities along the U.S./Canadian border were a potential gold mine for the right musician. Hawkins took his friend’s advice and did find some gold. In order to bring his rock and roll vision to the receptive audiences, Hawkins hired a group of ambitious musicians that began as The Hawks and gradually matured into The Band.

The interesting thing here is that for each of the people mentioned in this trio of covers there is only one degree of separation to Johnny Cash.

And the train keeps rolling…

Here is Bobby Bare having a bit of fun with his audience. He does a Johnny Cash impression and then rolls smoothly into a quality cover of ‘Folsom Prison Blues’.

The list of country musicians that were inspired by Johnny Cash is pretty much endless. The story of Merle Haggard cannot be told without bringing up the personal connection between the story Johnny tells and the life Haggard was living in the late ‘50s while he was doing time in San Quentin for a series of crimes, he was accused of committing through the decade.

No mention of ‘Folsom Prison Blues’ would be complete without this offering from the immensely talented combination of Lester Flatt and Earl Scruggs. Just listen to this guitar/banjo combination.

There is an element of foreshadowing at work here.  Enjoy Waylon Jennings from 1968. That distinctive voice tells the story. This is the level crossing where country legends meet. Enough said.

Leafing through a mountain of cover versions, I was struck by this performance by rock and roll pioneer, Carl Perkins in 1969. This is an important cover to share because it all demonstrates the cross-genre importance of Johnny Cash. When Carl Perkins brought rockabilly to young music fans in the mid to late ‘50s he was telling a similar story.

Yet another crucial link in a never-ending train of rail cars is Ted Tocks favourite Ramblin’ Jack Elliott. Jack was a friend of Woody Guthrie. He is still ramblin’ today. Whenever I get a chance to share his work, I am all over it. You can almost see Jack and Woody getting ready to hop a train and ride it to the next town.

For Canadian music fans, Hank Snow is the father of country music with a maple leaf embedded in the grooves. Here is Hank in 1971.

When it comes to the great pickers of the country genre, one needs look no further than Jerry Reed. Here he is exactly fifty years ago on his acclaimed album ‘Guitar Man’.

Now we fast forward all the way to 1990 and the country supergroup known as The Highwaymen. They truly need no introduction. Enjoy Johnny, Willie, Waylon and Kris.

A few years later in 1994 we get Brooks and Dunn performing with Johnny Cash. I am not a fan of this twangy voice country delivery that pretty much became the formula for what passes as country music today, but when Johnny comes in with his monologue at the end, he saves the song.

It’s been thirty years now, and I know I’ll never leave this godforsaken place alive.
Honest to God, when I hear her words ringin’ through my head as loud as that old train whistle,
crying out to me night after endless night, sending a cold steel shiver through my lost soul,
I close my eyes and pray that that iron horse is bound for the promised land and I’ll get to ride it home to glory someday.”

Johnny Cash

This is just special. Listen to Johnny and Willie. It borders on surreal. When Willie Nelson takes the solos on Trigger…There are no words.

This could go on forever…

Now for something completely different. This is a cover from 2001 by another act that Ted Tocks Covers enjoys sharing whenever their name comes up. This is Prozak for Lovers. I love this.

Every time I introduce Keb’ Mo’ to a Ted Tocks feature, it makes me promise, I need to do whatever I can to share more Keb’ Mo’. Simply amazing and eternally unique.

Over twenty-five years ago Colin Linden, Stephen Fearing and Tom Wilson sat around Wilson’s kitchen table and began to conjure up the persona that would become Blackie and the Rodeo Kings. It all began as a tribute to the great Willie P. Bennett, but then it evolved to epic proportions. If Canada has a comparable to the Highwaymen it would be Blackie and the Rodeo Kings. From the Ted Tocks Covers list of must listens, please embrace the work of this act. As individuals these artists are sensational. As a collective, they take the listener to another place. Let this train take you there.

Back in 2008 a shining light on the music scene took the stage at the Newport Folk Festival. Enjoy the energy and conviction of Brandi Carlile. You can literally sense the greatness that was to come. Yet another essential artist inspired by Johnny Cash.

Back in the late ‘50s and early ‘60s Johnny Cash and Jerry Lee Lewis often performed on the same musical revues. They were not rivals, as much as they were part of what would become the ‘Million Dollar Quartet’ with Carl Perkins and Elvis Presley. So, when Jerry Lewis recorded ‘Folsom Prison Blues’ in 1980 on his album ‘Killer Country’ it came as a surprise to no one that he included his own version of ‘Folsom Prison Blues’. This came complete with the ever-present Jerry Lee swagger.

Years later in 2014, here is Robbie Robertson and Nils Lofgren playing with the Killer on what would become Lewis’s final studio album. It was suitably entitled ‘Rock and Roll Time’. This would be Jerry Lee’s 41^st album release over a career that began in 1952.

Just to provide a sense of how adaptable Johnny Cash’s music is and how influential the ‘Man in Black’ remains listen to this 2022 recording by Wage War. It is from their album ‘The Stripped Sessions’. As the title suggests, what makes this cover so interesting is the fact that this metal core act out of Florida strips the song down, while applying some country roots to their metal edge.

Today’s tribute to a Johnny Cash classic is presented in an effort to emphasize that twenty years has passed since this icon died.

The fact that so much time has elapsed seems unfathomable.

The years just flow by, like the scenery one takes in, while looking out the window of a passenger train.

These images all exist as metaphors in the journey we call life.

Music is our most trusted companion.

Music never lets us down.

Your Flag Decal Won’t Get You into Heaven Anymore – It never has and it never will. #MusicisLife #TedTocksCovers #JohnPrine #EricRamsey #SpookHandy #BrandiCarlile

Every John Prine fan would agree that one of his most endearing qualities is his sense of humour, which was often self-deprecating. Recently, I was reading an article by a writer who spent a day with John Prine, and elements of his humility shone through like the Florida sun. When Prine was asked about the frequent comparisons between himself and Bob Dylan he offered this response.

Dylan said when he first heard my voice, he thought I’d swallowed a Jew’s harp.”

John Prine

As the interview came around to songwriting, the conversation turned to John Prine’s ability to write what could be categorized as humour songs, where the joke manages to endure. One of the examples that arose was the socio-political masterpiece ‘Your Flag Decal Won’t Get You into Heaven Anymore’. As always, Prine’s response is steeped in his astute social observation and the fact that his writing is a true reflection of what most of his audience is thinking. This was a gift that existed throughout his fifty-year career.

I never know until the years pass. I’m surprised as anybody. I pulled the song “Your Flag Decal Won’t Get You into Heaven Anymore” out of mothballs. I stopped singing that when most of the thing with Vietnam was over. People asked me about it, after we were in Iraq. I thought that if George Bush kept tinkering so much about patriotism, that if you talked out against that war, you definitely were a Lefty. When he started with that bullshit, it really got under my skin. So, I thought one night I would pull that song back out and start singing it again. I had no idea if it would work as well. And it felt really good, too.”

John Prine

To get a sense of how the song went over in a live setting in the early days, listen to this recording from a live radio recording in 1970, shortly before his self-titled debut album was released.

You can hear the audience participation and the easy rapport Prine shares with his appreciative fans. This trait remained through his final performance in early 2020.

As mentioned, John Prine brought ‘Flag Decal’ back during the Bush administration because he didn’t like the way things were going with the jingoistic, fake patriotism. He felt the song was still relevant. In this introduction he managed to juxtapose the mood during the Vietnam War with the mindset of some right-wing propagandists during this period.

Just after the Vietnam War got really ugly and people were uh, they called ‘em the silent majority…people all of a sudden decided to use the American flag for whatever they stood for. Next thing you know Readers’ Digest gave everyone a free American flag that you could stick anywhere you wanted to. I thought it was kind of odd when I was delivering them. The next day I came out and everybody had them stuck to their windows and their car bumpers, and their mailboxes, so I wrote this on my mail route. …I retired this song for years and years, but after our last President started using the American flag to get everybody all riled up, I thought I would bring it back.”

John Prine

Even in 2017/18, and right through the conclusion of his final tour John Prine adapted his introduction to reflect the continuing nonsense employed by Lord Farquaad, who was Hell bent on chastising anyone with a dissenting point of view, calling them ‘radical left’ and ‘communists’ and ‘weak’. Prine suggested that when he wrote ‘Flag Decal’ it was considered a protest song. He was moved to write because in 1968 they had a real joker in the Whitehouse. During his final tour he mentioned that 50 years later nothing had changed, referring to ‘Putin’s Pet’ as ‘Adolfo Benito Trumpatini’.

Seems about right to me.

Those flag decals of the late ‘60s and early ‘70s paved the way for MAGA hats. Compounded with chants like ‘Jews will not replace us” and the proud unfurling of the Confederate flag at hate rallies by White Nationalists, who spew hate rhetoric and nonsensical talking points uttered by multi-millionaire talking heads on FOX News, who know that deceiving their viewers is an avenue to both their own wealth and social division.

Presently, everything is upside down. People of this ilk have managed to convince about a third of Americans that it would be better to be a Russian under the autocratic and evil rule of Vladimir Putin than it would to be a Democrat. Of course, the dastardly Democrats only mission is to leave no American behind. Apparently, a guarantee of meaningful employment, food, shelter, health care and education is considered socialism, or even worse…communism. Don’t even get me started on their attack on voting rights for every citizen and the continued denigration of women and attacks on people’s sexual or gender identity. It is laughable from the outside looking in, to see the people making these statements in interviews. They have no capacity for coherent thought and their makeshift protest signs are littered with typos and grossly inaccurate vitriol.

Here are the lyrics that describe the troubling scene that seemed to equate unquestioning public displays of patriotism as a badge of honour.

While digesting Reader’s Digest
In the back of a dirty book store,
A plastic flag, with gum on the back,
Fell out on the floor.
Well, I picked it up and I ran outside
Slapped it on my window shield,
And if I could see old Betsy Ross
I’d tell her how good I feel.

But your flag decal won’t get you
Into Heaven any more.
They’re already overcrowded
From your dirty little war.
Now Jesus don’t like killin’
No matter what the reason’s for,
And your flag decal won’t get you
Into Heaven any more. 

Well, I went to the bank this morning
And the cashier he said to me,
“If you join the Christmas club
We’ll give you ten of them flags for free.”
Well, I didn’t mess around a bit
I took him up on what he said.
And I stuck them stickers all over my car
And one on my wife’s forehead.

Well, I got my window shield so filled
With flags I couldn’t see.
So, I ran the car upside a curb
And right into a tree.
By the time they got a doctor down
I was already dead.
And I’ll never understand why the man
Standing in the Pearly Gates said…

“But your flag decal won’t get you
Into Heaven any more.
We’re already overcrowded
From your dirty little war.
Now Jesus don’t like killin’
No matter what the reason’s for,
And your flag decal won’t get you
Into Heaven anymore.”

John Prine

The truth is, there is one party in America that has become a dinosaur, clinging to a vision that is so regressive it is an abomination. They speak primarily to those who are white, (fake) religious, overtly racist, wealthy and heterosexual (at least in public). They sell this narrow-minded doctrine through lies and fear tactics and they drag an impossibly uneducated throng along like cult addled lemmings over a cliff.

Recently, many chose to contribute to their own demise, or expose and possibly kill the people closest to them during the COVID pandemic. The depraved indifference of the corrupt, twice impeached despot resulted in the deaths of over one million Americans. Yet they still follow blindly, thinking that supporting this man and his willfully ignorant posse will ‘Make America Great Again’. They are going down the wrong path. It is a direction that will only benefit a self-serving minority. The manipulation of the masses is a gross atrocity.

While researching this post and listening to so many wonderful versions of ‘Flag Decal’ by John Prine, and artists who hold him in the highest esteem, I discovered this answer to the John Prine classic. This is ‘Our Flag Decals Still Won’t Get Us into Heaven’ by Eric Ramsey. Eric is an Arizona based blues/country/folk (he calls it ‘acousticana’) artist who proclaims his adoration for John Prine in this composition. It is a brave stance, when you consider the regressive state where he resides. I admire the courage of his conviction and I agree with his stance.

John Prine was right when he did sing about how all our patriotic bling
Would never be enough to secure our entrance into Eternity
I’d like to shake his hand some day and thank him for being the first to say
That our flag decals won’t get us into heaven

So hate the sinner but love the sin, no matter what kind of shape we’re in
Our flag decals still won’t get us into heaven
When you think about what all we’ve done in the name of the Father and the Son
It’s small wonder we’re not welcome there in heaven
Yeah, our flag decals just might keep us out of heaven
Yeah our flag decals still won’t get us into heaven”

Eric Ramsey

Before I conclude I wanted to share a couple of interesting cover versions of ‘Flag Decal’. The first is by Spook Handy who has an intriguing resume that involves some collaborations with the legendary Pete Seeger. This cover is from 2007 and it pays homage to John Prine.

A short time after John Prine succumbed to COVID-19 two years ago today, his wife Fiona and sons Tommy, Jack and Jody put together an on-line memorial tribute concert in June of 2020 called ‘Picture Show: A Tribute Celebrating John Prine’. The charity event raised over $200,000 for the National Alliance on Mental Illness. One of my favourite presentations was by Brandi Carlile and her long-time bandmates and friends, Phil and Tim Hanseroth. This is just phenomenal. The energy and the harmonies are vintage Brandi, who was one of John Prine’s favourites. I think what he admired most about Brandi is her open defiance of the regressive establishment.

The importance of staying and working within Americana is greater than just me. There is not a moment where I don’t view my role as something larger. I feel great responsibility in representing marginalized queer people in rural America who are raised on country and roots music but are repeatedly and systematically rejected by the correlating culture. Every rung I can sling my gay sequined boot up on top of gets queer people a little higher on the ladder to being seen as just a bit more human in the great American roots landscape.”

Brandi Carlile

Right on Brandi!

Ted Tocks couldn’t find the recording on YouTube, but not to be defeated, I tracked it down on a John Prine fan’s Facebook page. I hope she doesn’t mind. I will share it with a pre-emptive THANK YOU because typically John Prine fans tend to take an all for one and one for all approach to their appreciation for the man they love.

https://www.facebook.com/JordannMalone/videos/10163626452830273

Part of my appreciation for the music and words of John Prine involves diving in to any new interviews or articles I discover that pay their respects for one of my favourite people. I encourage you to read ‘Living in the Present with John Prine’ by Tom Piazza from late 2018 after ‘The Tree of Forgiveness’ was released.

https://main.oxfordamerican.org/magazine/item/1562-living-in-the-present-john-prine

If you don’t have time to read this refection, it was Piazza’s identification of a common theme in John Prine’s writing, that made me ponder.

He was asked about the heaven motif in his songs, and the consideration related to how one might be encountered when approaching the pearly gates. It came around to his own mortality.

I’m not sure, but I think that when I write about the idea of mortality—not just now, but earlier—it might have to do with something in my sense of humor. Mortality is a natural target for it. I’ve written songs where I’ve talked about a guy dies and goes straight to heaven, and this happens or that happens. It’s a target that I’m drawn to, to get my humor through. So like right now, because I’m seventy-one, all of a sudden articles are going, ‘This guy’s writing about mortality,’ whereas before they thought I was just joking. I think that’s part of it. ’Cause it’s not like I haven’t written about it before. It’s just I wasn’t seventy-one before.” 

John Prine

When asked whether he contemplated death and the afterlife he was fairly fatalistic.

I don’t think so. I think it’s just a natural ending to life. It’s the only option. There’s life, and there’s death; there’s not much in between. You fall in love, you’re trapped inside these bodies, the clock goes around, and before you know it—it’s time to go!” 

John Prine

I love what he says about ‘kindness and graciousness’ in this next passage. This is the message that we should all heed. In the end, nothing else matters.

I think I believe in the afterlife. Maybe not. Also, I think it doesn’t matter, ’cause nobody can check in with me after I’m gone. I do think your soul lives on. But I don’t think, if there is a heaven for your soul—I don’t think one soul would know another. Except out of kindness and graciousness, stuff that’s supposed to be heavenly. You just go somewhere, and you might even come back as something else. But you wouldn’t know it, right? Maybe you just get dry-cleaned and come back as something else! I think most people believe you die and that’s it. They cremate you out of kindness and then throw your ashes in an ashtray and you’re outta here.”

John Prine

Note, how he combines death and humour.

Resolute, but funny, right to the end.

That is, and will always be, John Prine.

Down on the Corner – Cotton Fields – A #TedTocksCovers double shot – #MusicisLife #CreedenceClearwaterRevival #BrandiCarlile #Lumineers #BryanAdams #LeadBelly #TheBeachBoys #JohnnyCash #TheCarterFamily #Tesla #EltonJohn #CharleyPride

Today we have a double shot in honour of the 50^th anniversary of Creedence Clearwater Revival’s Willy and the Poor Boys album. This album marked the third album release in 1969 for the prolific act. The problem was, internally things were starting to crumble under John Fogerty’s demanding regimen. Read this quote from drummer, Doug Clifford.

“That was a bit of overkill and I never did understand that. Fogerty told us that if we were ever off the charts, then we would be forgotten…To make it worse, it might sound funny, but we had double sided hits, and that was kind of a curse, as we were burning through material twice as fast. If we’d spread it out, we would not have had to put out three albums in one year.

Doug Clifford

Despite the infighting, Willy and the Poor Boys is still as fresh today as the day it was released. The first song to be featured will be ‘Down on the Corner’.

This upbeat tune tells the story of a band called Willy and the Poor Boys who play their music on a street corner for loose change. Really, they are playing just to share their love of music. It is a classic song that illustrates yet another example of how music brings people together, even in its most simple form. In this case the members of CCR play a gut bass, a washboard and a Kalamazoo guitar. Here is some footage from a 1969 performance. It is so authentic. Mama Cass’s introduction will make you scratch your head…Seriously?

 ‘Down on the Corner’ peaked at #3 on the Billboard singles chart.

Here is a fun cover by Brandi Carlile and the Lumineers. They are rehearsing it in a living room. They played it live later that night (That video is on Youtube too. I just liked this one better). It is raw but it is real. I love it.

Here is one more cool cover. In 2014 Bryan Adams released an album called Tracks of My Years. It was a retrospective where he performed songs that inspired his love of music. Naturally he would include a song from ’69.

Willy and the Poor Boys is also a very influential album because it helped to popularize the music of the great blues artist Lead Belly. ‘Midnight Special’ and “Cotton Fields’ both appear on Willy and the Poor Boys. For more on Lead Belly, I featured ‘Midnight Special’ and ‘Goodnight Irene’ in previous posts. Today we add the classic song ‘Cotton Fields’.

This is another example of how music gets passed down through the generations. Pete Seeger learned about Lead Belly through his association with musicologist/historians John and Alan Lomax. Seeger and his band The Weavers did their best to spread the music of Lead Belly. It was passed on to artists like Bob Dylan and Joan Baez, just to name a few. Among the many others is John Fogerty of CCR. He understood the importance of Lead Belly and many other blues artists. They had a story to tell, and it needed to be passed down through the generations.

“Lead Belly was a big influence. I learned about him through Pete Seeger. When you listen to those guys, you’re getting down to the root of the tree.”

John Fogerty

Here is Lead Belly’s original version. This song goes back to 1940. Lead Belly is a musical treasure.

How influential was he? Check out the range of influence.

The Beach Boys recorded it with Al Jardine on vocals. You have to love the country style. As the vocals develop the Beach Boys distinct sound emerges. This is a ton of fun.

Here is Johnny Cash from 1962. It is from his album The Sound of Johnny Cash.

Coincidentally, The Carter Sisters June Carter (later Cash) did a cover version in 1966.

How about a metal version by Tesla in 1991?

That was different. The point is, the song has a widespread impact on musicians from a range of genres.

Here is Elton John from 1969/70 on an album he created in order to get some attention. It was called 16 Legendary Covers. The album was released in 2004.

Sadly, on December 12, the music world lost another legend. Charley Pride passed away as a result of COVID-19 related issues. He was 86.

Here is Charley Pride and his version of ‘Cotton Fields from 1969. It needed to be shared in this updated version of today’s feature.

I hope you enjoyed this walk through eighty years of music history. It emphasizes the importance of the roots, from instrumentation to the stories that inspired the songs. This can never be forgotten.

Take Me Home, Country Roads – Almost heaven. #MusicisLife #TedTocksCovers #JohnDenver #BillDanoff #MaryNivert #BrandiCarlile

“Take me home, to the place I belong, Massachusetts…” Wait…What? Check that again. As the story goes when the song was being pieced together by songwriter Bill Danoff, this was the original thought. As we all know the song ‘Take Me Home, Country Roads’ became synonymous with West Virginia. There are many interesting little anecdotes related to this catchy, classic song. Today’s Ted Tocks will take you back to 1970 where it all began.

The inspiration for ‘Take Me Home, Country Roads’ came to Bill Danoff while he was driving with his, then wife, Mary Nivert to a family reunion in Maryland. The couple were looking to pass the time and while noting the beautiful scenery, they made up a little ballad. Seeing as Danoff was from Massachusetts that state found its way into the original rendition until later in 1970 when the song really began to take shape.

On December 22, John Denver was headlining a gig at The Cellar Door in Washington, D.C. Some of you may recognize the name of this famous folk club because it is cited in Neil Young’s classic song ‘The Needle and the Damage Done’. On this night the opening act would be ‘Fat City’; which was the performing name for none other than Bill Danoff and Mary Nivert. The couple and John Denver hit it off from the time they met. Seeing as they were sharing the ticket for a two week run they took the down time between gigs over the holidays to jam. On the night they wrote the now classic song John Denver broke his thumb in a fender bender. By the time he got back from the hospital he was a little numb from painkillers. Danoff and Nivert remembered the fun little piece from their drive through the country and during an all night session they managed to lay out the lyrics of the song which touched upon the beauty of the natural landmarks of West Virginia. This was mostly from the minds of Nivert and Denver because ironically Danoff had never actually been to West Virginia.

The couple was ecstatic about what they had created in collaboration with John Denver. They started throwing around the idea of selling it to Johnny Cash, but John Denver insisted that they work out an arrangement for him to record. The first step was to debut the song live, which happened on December 30, 1970 at The Cellar Door. Denver brought out Fat City and the trio played it to the astonished crowd who gave the performers a five minute standing ovation. This was a pure musical moment.

Fuelled by the positive response, they recorded the song in the early part of 1971 and the original pressings credited John Denver and Fat City. Original airplay and sales met with a tepid response but before too long, at the insistence of John Denver, RCA Records persisted in getting the song through to the radio stations and the buying public. The result was an ultimate rise to #1 on the Record World Pop Singles Chart and #2 on the U.S Billboard Top 100 next to only the Bee Gees ‘How Can You Mend a Broken Heart’. By August, it was certified Gold and even today it sells at a massive level with nearly 1.5 million digital copies downloaded. A huge number for a song that is five decades old.

Where the song took immediate roots of course, was in fact, West Virginia. Despite the fact that some of the landmarks noted in the song are only vaguely associated with the state, the people wore it like a badge of honour. It is one of the official state songs as well as the theme song for West Virginia University. They only shrug at the fact that Shenandoah River and the Blue Ridge Mountains are more a part of the Virginia geography. The songwriters make no apology for it though. It worked. It has four syllables and it grooved.

Just try not to sing along. It is a beautiful song.

I was introduced to the music of John Denver by my Uncle Ron, who when he learned that I was taking an interest in music shared a couple of his favourites, including John Denver and Gordon Lightfoot. I was intrigued by both. I was familiar with them because they were played often on CFRB radio; a station that I listened to faithfully before a desire for a broader listening experience took root. Uncle Ron told me that these artist’s music got him through many challenges while he was growing up. This was one of my first introductions to the power of music and words. I was reminded of his fondness for Denver when the singer/songwriter died way too young, at the age of 53 when his experimental airplane crashed into the ocean just off the coast of Los Angeles. This tragic accident happened on this day in 1997.

‘Take Me Home, Country Roads’ always brings a smile to my face for reasons beyond the ones I have currently shared. Let’s just say Heather has a unique parody where the words are just a little bit more racy than the original more sentimental song by Mr. Denver. I will let you ponder what her replacement for ‘West Virginia’ might have been. 😉 Always a crowd favourite among our group of friends.

There are numerous cover versions of this great song. I was hoping to find Emmy Lou Harris but the recording wasn’t the best. I opted for this version by Brandi Carlile because it is live and full of energy and at the end it morphs into a beautiful ‘Rocky Mountain High’ ‘Sunshine on My Shoulders’ medley which is really well done. Like I say, when a cover version gushes respect for the original songwriter, and the musicians are having a ton of fun with the performance you can literally feel the passion. That’s what music is all about. Enjoy!